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Showing posts with label Typography. Show all posts
Showing posts with label Typography. Show all posts
Monday, 16 November 2015
Thursday, 5 November 2015
PYER MOSS SPRING 2016
The collection itself was a late addition to the show as designer, Kerby Jean-Raymond, initially planned on showing only a short film about numerous cases of police brutality on black men and women in the USA and voicing the opinions of Marc Ecko, Robin Givhan and Usher Raymond on systematic racism.
"This subject hits close to home for Jean-Raymond, who between the ages of 12 and 18 was stopped-and-frisked 12 times. The New York City native believes that social media has made it impossible for society to ignore these injustices." - (Julee Wilson).
In the show, Jean-Raymond seamlessly debuted a full womenswear line with its male counterpart. As well as the powerful film, his garments became canvases for poignant phrases and statements as visual artist Gregory Siff spray-painted models as they walked.
Both the men's and women's looks were adapted from classic sportswear silhouettes; bold utilitarian looks with hard-edged streetwear style. The garments themselves did not instantaneously scream revolutionary, however the carefully chosen and strategically placed typographic element within the collection, lists of names and bold phrases, instantly transformed the pieces into bold statements against the blatant racism within the USA.
The live defiling of the collection by Siff, and the calculated choreographed show upgraded Jean-Raymond's runway from simply a fashion show, into a piece of performance art. Journalist Brigette Segura described the scene as - "The designs on the models were (violently) painted as we sat and watched the live performance art piece. Model Alyssa Arce, was the centerpiece painted in the middle of the room on stage with Siff. Once he finished painting her, she was pushed into her place at the front of the room directly in view of the cameras, the photo pit. Dario Calmese comes forward and pushes her at all angles. Arce is provoked, poked, prodded, and pushed to leave the runway. This was a choreographed act of violence towards the designs and this white model. She was left defenseless and on view like an animal. It was uncomfortable and alarming. Pyer moss x Gregory Siff made their point. We cannot look away from this topic in our world".
The word 'breathe' was written 3 times on the back of the final model's jacket, primarily dedicated to Eric Garner, who featured in the film at the beginning after wrestled to the ground in a chokehold by a police officer and whose last words were "I can't breathe". The word also 'served as a reminder of the countless black Americans who have to live and breathe in their black bodies everyday' - (Rikki Byrd).
Every detail linked back in some way to the cause Jean-Raymond is dedicated to; red paint was dripped and splattered on garments to represent blood, gunshots sounded as the models walked, netting, straps and tight collars were 'intended to evoke the entrapment which hold back the black body'.
His collection was specifically inspired by evocative images of Ota Benga and Saartjie Baartman, whose bodies were put on display, mocked and dehumanised in America and Europe during the 1800s and 1900s.
"In an industry that so often keeps away from controversial topics, the Pyer Moss collection aligned a profound message with clothing that showed the evolution of this up-and-coming designer’s modern aesthetic." - (William Graper). [PHOTOGRAPHS BY CASEY VANGE, TAKEN FROM MODELS.COM].
"In an industry that so often keeps away from controversial topics, the Pyer Moss collection aligned a profound message with clothing that showed the evolution of this up-and-coming designer’s modern aesthetic." - (William Graper). [PHOTOGRAPHS BY CASEY VANGE, TAKEN FROM MODELS.COM].
Wednesday, 30 September 2015
TRACEY EMIN DOCUMENTARY
We watched a documentary on the work of Tracey Emin.
Emin said her work are statements. She uses both literal written statements, with her neon signs and textile wall hangings, as well as graphic statements with her intricate mono-prints and installations.
She talked about how the subject of the piece has to fit and match the medium used to create it, or else the meaning changes or in some cases, is completely lost.
Emin proposed that the statement is the work she makes, as opposed to the work she creates being the statement.
People are polarised on Emin's work. Some adore her outrageous pieces, whilst others mock her more unusual statements. Her sculptures and installations in particular cause conflict among viewers, however Emin argues that a gallery gives work it's context. Something ordinary can be removed from it's original setting or purpose and can be re-proposed in a gallery.
Emin said her work are statements. She uses both literal written statements, with her neon signs and textile wall hangings, as well as graphic statements with her intricate mono-prints and installations.
She talked about how the subject of the piece has to fit and match the medium used to create it, or else the meaning changes or in some cases, is completely lost.
Emin proposed that the statement is the work she makes, as opposed to the work she creates being the statement.
People are polarised on Emin's work. Some adore her outrageous pieces, whilst others mock her more unusual statements. Her sculptures and installations in particular cause conflict among viewers, however Emin argues that a gallery gives work it's context. Something ordinary can be removed from it's original setting or purpose and can be re-proposed in a gallery.
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